thinbeach Heyst is a man who lives in isolation and peace on a secluded Island, but while doing business at a hotel on the mainland encounters Alma, an attractive violinist who is being abused in her profession. He takes pity on her, and as she wishes to escape, steals her back to the Island with him. Schomberg, the owner of the hotel, desired Alma for himself, and teams up with a group of criminals in order to win her back. The criminals travel to the Island, and once there it is one betrayal after another. The girl tries to please both Ricardo and Heyst in order to save herself. Ricardo, desiring the girl for himself, turns against their criminal leader Mr. Jones, as does Pedro who suddenly sees an opportunity to avenge Mr. Jones for murdering his brother some years ago. A couple of these characters die, one survives, and Heyst and Alma suddenly realise they love each other. For some reason we never get closure on what happens to Pedro or Schomberg, and the film ends with a few plot threads hanging.It is essentially an early pirate film, violence and adventure, and of course, sex appeal, with Alma spending much of the third act in a dress with her shoulders bare, which was fairly raunchy for the time. It was perhaps quite a spectacle in 1919, but pales in comparison to the achievements of modern films. And while the winding plot keeps us engaged, it all unravels in the end. Mr. Jones, leader of a criminal gang, can not hit his target with a pistol from five metres, nor can Ricardo, expert knife thrower, hit his, but Heyst, peaceful man who has never held a gun before in his life, can hit his target from a greater distance. Actually, not much in the third act makes a great deal of sense. I guess they were hoping the gunfights would distract you from that, but that trick won't work in 2018!Thematically, it is about the strong allure of women, and how their very nature can turn men from their peaceful ways, and against each other into wickedness. To the films credit, the scenery was nice, as was the use of the smoking volcano as both metaphor and potential hazard.

MartinHafer Axel Heyst (Jack Holt) is a strange would-be author. Instead of the usual way of writing a book, he movies to a Pacific island and lives the life of a hermit to get inspiration. My wife is a very successful writer, though she has never needed such inspiration (thank goodness)! One day, he has to take a trip to civilization and goes to another island. There, quite unexpectedly, the hermit comes upon a beleaguered lady (Seena Owen) who is being abused by a band leader (Wallace Beery--hiding under a lot of fake hair and a beard) and his nasty wife. While Holt wanted to remain alone on his island paradise, he can't stand to see the lady being treated this way and helps her sneak off to his refuge.The reaction of Beery didn't make a whole lot of sense. Sure, he might have been mad that this lady ran off and left his band, but it was just one lady--yet he vows vengeance and goes to incredible lengths to find her. Later, when he learns where she is, he sends a gang of scum (which included Bull Montana and Lon Chaney) to get her by lying to them about a treasure on the island--saying they should torture the man and woman to learn where it is! The problem is that Holt is an avowed pacifist and he cannot bring himself to fight these ruffians when they arrive. What will happen? What will become of the love that is blossoming between Owen and Holt? Tune in and find out--though I will say that part of the ending (having to do with a fire) was 100% unexpected and shocking! This is an agreeable little adventure film-romance. While it's not one that will change your life, it is worth seeing for its odd plot, a chance to see Chaney playing a Hispanic man and to see Holt, who was quite the matinée idol in the 1920s--though by the 30s he'd become more of a supporting actor as his hair thinned. Decent acting, a decent script and a nice tropical look make this a winner considering it was made in 1919.By the way, this is bundled with THE WICKED DARLING (also 1919) on DVD, though fortunately the print of VICTORY is much better.

Snow Leopard This is a good atmospheric melodrama that successfully adapts a Joseph Conrad story of human needs and emotions, and it adds a memorable supporting performance by Lon Chaney as a bonus. The first part moves at a nice, deliberate pace, allowing the characters to define themselves and the tropic island atmosphere to sink in. Then, once it gets moving, it produces some tense moments of suspense, action, and danger.Jack Holt plays a moody recluse who is drawn into helping out a musician played by Seena Owen. Just as things start to work out for both of them, the villains - Wallace Beery, as a brutish hotel manager, and a ruthless gang that includes Chaney's character - take over the course of events. The story is rather simple in itself, but (as is often the case in Conrad's novels) the key is to watch the characters as they respond to developments.Holt is actually rather bland as the hero, and this is the main thing that keeps it from being one of the finest pictures of the late 1910s. Owen is quite sympathetic in her role, and often effectively underplays her character's emotions. Beery is well-cast and performs well, but it is Chaney who grabs the attention from everyone else whenever he is on the screen. Even in a supporting role like this, his attention to detail and his understanding of his character's nature come across clearly.The cast and story work well together and with the setting. The smoldering volcano not only provides atmosphere, but is also an appropriate image for the changes taking place inside the characters, as the tense story movies towards its conclusion.

wmorrow59 A bare outline of this film's plot suggests that it must be some kind of pulpy melodrama, a B-movie with a touch of the lurid. Our handsome hero is (initially) a passive, brooding figure who has withdrawn from the tumult of life, having retreated to a tropical island where he lives a secluded existence. He wants nothing to do with human affairs, especially where women are concerned, preferring to puff on his pipe and read philosophy. Before long, however, he becomes involved with a young lady who works at a hotel on a nearby island, a woman who is friendless and mistreated, and he gallantly provides her with shelter in his home -- on a platonic basis, of course. Soon, three sinister men arrive on the scene, sent by her former employer. To avenge himself on her, he has told the trio that our hero is hoarding a stash of loot on his island. When the woman is imperiled, our hero must rise above his passivity and fight. The violent climax of the story unfolds concurrently with the eruption of the island's volcano.The plot may sound a little absurd spelled out like that, but the film itself is surprisingly enjoyable, and its source material is more than respectable: Victory is an adaptation of a 1915 novel by no less than Joseph Conrad, and it generally follows the action of Conrad's story, aside from the Hollywood-style happy ending. This was no B-picture, it was a major release from Paramount with first-rate production values, an excellent cast, and sensitive direction from Maurice Tourneur, a top director at the peak of his career. French-born Tourneur began his career as an artist and scenic designer, and his films are marked by striking compositions that differ sharply from the prevailing flatness of so many routine movies of the time. The cinematography in Tourneur's films is always beautiful and often surprisingly sophisticated, highlighted by dynamic shots that utilize the background, foreground, and middle range of the image. For example, watch the early scene in Victory when leading man Axel Heyst (played by Jack Holt) returns to the hotel with Alma (Seena Owen) to retrieve her belongings and escape. Where other directors of the period might direct this scene as it would be done on stage, with the two characters simply entering from one side and crossing the lobby, Tourneur keeps the hotel's staircase in the left foreground as Axel & Alma enter from the right background and slowly move forward. It's night, the wind is blowing hard, and we can see tree branches rustling through the windows; Axel & Alma must creep down a corridor toward the camera, not laterally across a "stage." It's very cinematic, a composition that doesn't resemble other movies of 1919 so much as the work of Orson Welles at RKO in the early 1940s, and the many shadowy crime dramas which followed.Still, all the innovative camera angles in the world won't carry a film if the actors aren't up to the task, and happily Victory features a number of first-rate players. The primary reason this film is remembered today (and certainly the reason it's been made available on DVD) is the presence of Lon Chaney as Ricardo, one of the trio who arrive on Axel's island to menace our hero and heroine. Chaney may not be the first actor one might think of for the part of a knife-wielding Hispanic thug, but he brings his unique charisma to the task and makes the role his own, deftly stealing the show. Today Chaney is generally pigeonholed as a horror star, but it's worth noting that he spent most of his career in roles like this one, certainly villainous but in no way touched by any element of the supernatural. Chaney threw himself into his portrayal of Ricardo with his customary energy, at times moving like a dancer and always drawing our attention in any grouping of actors.Jack Holt is stolid and frankly not too interesting in the lead role of Axel Heyst, but in fairness the part is a thankless one, as the demands of the story force our protagonist to be little more than gentlemanly and laid-back until the climax. Seena Owen makes a stronger impression as Alma. Prior to seeing this movie I was aware of her primarily for her amazing performance as the Mad Queen in Erich Von Stroheim's notorious Queen Kelly, a role vastly different from the one she plays here. Owens' Alma is a more demure (to put it mildly!) and complex figure, and she's especially impressive in a sequence when Ricardo mauls her. Alma must fend him off while pretending to be flattered, even "turned on" by his brutish attentions, only allowing her genuine feelings to become clear after he has gone. Wallace Beery, who generally played slimy bad guys at this point in his career, sports an amusing beard and is as unpleasant as ever in the role of August Schomberg, the despicable hotel manager whose lust for Alma sets the plot in motion. Finally, I was very much taken with an unfamiliar actor named Ben Deeley, who played "Mr. Jones," the leader of the trio who invade the island. Jones is a fey, feline, and startlingly modern looking villain. For today's viewers his slicked-back white hair and dark shades suggest the star of a Euro-pop rock video of the 1980s. Deeley gives an understated performance that goes with his appearance. Over all, the acting here is remarkably low-key; the arm-waving histrionics often associated with silent drama is nowhere to be found.In sum, Maurice Tourneur's Victory is an unexpected treat for silent film buffs, a well-made, well-acted and entertaining melodrama featuring a number of unusual touches that lift it well above the realm of the ordinary. And hey, it boasts an action finale set against the backdrop of an erupting volcano! What's not to like?